InterAct Theatre Company presents Pravin Wilkins’s Moreno

Moreno, by Philly-based playwright Pravin Wilkins, examines the backdrop of Colin Kaepernick’s decision to take a knee during the national anthem in 2016. The story happens mostly in a locker room where four members of an NFL team reckon with Kaepernick’s protest. Luis Moreno (Frank Jimenez) is a bigshot running back focused on money and fame. He has no interest in “woke fashion statements.” Jimenez balances the charming and sometimes underhanded Moreno sympathetically. Zek (Charvez Grant), the wise and educated son of Black Panthers, takes a knee. He has some of the most insightful monologues, and Grant brings an innate strength to the role.

Danny (Gabriel Elmore), a white quarterback, is all about the game and thinks politics have no place on the field. Cre’von (Abdul Sesay) rounds out the crew as a young Black man who doesn’t want to make waves and provides comedic relief. Zek is frustrated, especially with Moreno, who has a large platform but ignores the protest. This comes to a head when Moreno’s family becomes a victim of Donald Trump’s hateful and racist rhetoric.

Co-opted activism?

Moreno explores activism, allyship, and racism in sports. As Zek rightfully says, there is never a correct way or place to protest under white supremacy. While a lot of media explores racism with a Black/white binary, this play demonstrates how white supremacy affects communities differently and seeks to pit communities of color against each other. What does it mean to be co-conspirators rather than passive allies, or even worse, ignorant to the plight of others?

Zek gets mad at Moreno for co-opting the platform built by Kaepernick. Ironically, the play itself does not give enough acknowledgment to the Black women who paved the way for Kaepernick’s protest. Besides noting that Zek’s mom was a Black Panther, there is little focus on the contributions of Black women. The Black Lives Matter movement, essential for Kaepernick’s activism, was founded by three Black women: Patrisse Cullors, Alicia Garza, and Opal Tometi. Black women’s labor is often erased from history.

Humor, hope, and brotherhood

The direction by Seth Rozin and J. Paul Nicholas is mostly well-paced. The script’s humor and sharp wit are critical to entertaining us while delving into tricky topics. There could’ve been fewer football scenes, especially in the first act, which feels a little bloated. The tight stage of the Proscenium at the Drake makes it challenging to display the physicality of football: some of these scenes feel cramped, though careful movement and fight choreography (by Ontaria Kim Wilson) make good use of the space. Dahlia Al Habieli’s simple set of lockers and some benches makes effective use of the limited space without crowding the action.

This is an impressive and thoughtful play from an up-and-coming writer, exploring important, nuanced themes in a divisive political climate. It promotes hope and brotherhood in the midst of difficult situations.

In many ways, it feels like a lot of this country has moved on from caring about police brutality, BLM, and coalition-building. Almost all demographics shifted towards Trump in this election compared to 2020, with a significant increase in Latino men voting for Trump. DEI programs have been canceled as companies have sought to cut costs. But I don’t think it’s ever too late to refocus and foster conversations around these important topics.